Follow the author of this article

Strong female muses and mega model line-ups were the flavour of the day at Milan fashion week today. In the morning at Max Mara, its dapper British creative director, Ian Griffiths took on the ultimate power woman trope - the Amazon, inspired by the new feminist reworking of ancient history currently in vogue. Madeleine Miller’s Circe, Pat Barker’s The Silence of the Girls, Margaret Atwood’s Penelopiad and the recent release of the first translation of the The Odyssey, by a woman - Emily Wilson, were his point of entry.

“Even just watching the BBC’s Troy” he offered, “you see so many parallels with the world we live in.” Which does make you slightly wonder where he’s been hanging out.

Into this ancient mix, Griffiths threw Max Mara’s own hero, its Eighties creative Anna-Marie Beretta who in designing the classic “101801” coat, solidified that confident, sharply dressed working woman as the crux of the brands offer.

Max Mara SS19. Credit:
Getty Images

But what does the “part warrior, part ocean goddess” to be exactly wear? Griffiths popped her in earth-coloured one shoulder jumpsuits - her bag worn diagonally across to give off the impression of a bow and arrow slung jauntily across one’s breastplate. There were light ochre knits with textured ruffle detail along the length of the arm, knee skirts ruched at the front, PVC trench coats and matching one-shouldered cocktail dresses in a soft taupe. Over the knee gators provided a literal armour.

“The colour palate was inspired by the earthy tones of the Mediterranean landscape, with a couple of vibrant yellow (representing the sun) - or in Griffiths imagination, “pure, saturated, unafraid”.

As the designer who first put a Muslim model - Halima Aden - onto the catwalk - he is no stranger to working a headscarf into a look. Here there were multiple, colour coordinated iterations - which as well as niftily speaking to his broad client base, for him played on the idea of clothing as a defence “arming yourself in the city, with a headscarf and sunglasses” he explained backstage.

The sunglasses - which cocooned the eyes in an air-military manner, were inspired by Briseis, wife of Achilles (now that’s thrown you) - who was “virtually written out of Homer’s version”. Read Pat Barker he implored, to see how crucial she really was.

Max Mara SS19. Credit:
Getty

This idea of clothing as protection is something that has interestingly threaded through many collections shown so far this season. Perhaps, not a surprise that sartorial defences are being deployed given this age of hashtag activism and the potent uprising of women’s voices.

At Fendi, a similar mood prevailed. Here Karl Lagerfeld cited an urban jungle, drawing in themes of the natural world with the utilitarian. Many-pocketed bomber jackets were worn with bags again slung diagonally across the body; popping orange trench coats were paired with matching high, paper-bag waisted shorts, balletic pleated skirts and blazers, and a finale of pretty organza dresses scattered with floral and bird embroideries.

There was also a quiet moment of triumph for anyone keeping an eye on the diversity index. Adwoa Aboah, the British Ghanian model opened the show, Adut Akech Bior from Southern Sudan, closed. Given that both Hadid sisters, Kendall Jenner, Kaia Gerber and Edie Campbell were also walking here, this felt even more important.

One note, at both these shows, this idea of female empowerment (albeit through the eyes of men) was perhaps hindered by the heeled court shoes. Max Mara’s did feature flaming wings fluttering off the back, but they’d have made a terrible click-clacking give away in that giant wooden horse.